Saturday, July 28, 2012

3 Songs, 3 DAW's... Coming Soon.

Hello, thanks for stopping by for a visit. It's been a while for me as well, so I thought I'd stop by myself, and post an update.

A few weeks ago, I decided to get back on the recording "horse" as it were, and get to ridin' once again. I've got more songs that I'd like to demo, as well as some pieces that are mostly basic instrumental ideas at this point. I figure, once those are recorded, I can decide whether they will remain instrumental pieces, or try to add some lyric and melody to them.

However, this time around I decided to put a spin on recording this new batch of 3 songs. Being that this blog is called "the harvard experiments", I came up with what I think might be an interesting one: to record 3 songs, using a different Digital Audio Workstation (DAW, for short) program for each one.

What's the purpose of using 3 separate programs for each song, you might ask?  Well, DAW's are available from many different companies these days. While the task of recording and mixing digital audio is usually the end goal, many programs have their strengths in certain areas; their own unique spin on certain features, some of which could drastically improve the user's workflow for what they are trying to do with their project.

The 3 DAW's I am using for this project will be: Avid's Pro Tools LE 8. This is the software I used to record the 3 songs I posted earlier this year, and the one I'm most familiar with, as far as getting tasks done fairly quickly. I've been using Pro Tools since 2003, and while I don't consider myself a true Pro Tools "master", I do feel like I know what I'm doing when I work with it, more so than with any other audio program. Pro Tools is actually up to version 10 now, but I've decided not to upgrade, although I'd like to. I may get into that more in depth in a future post...
Screenshot of Pro Tools version 10 - not the one I'm using, but similar.
Second, I'll be using Apple's Logic Pro 9. I started using a previous version of Logic back in 2008 or so, and since I liked many aspects of the software, I upgraded to Logic Pro in December 2011. As I mentioned earlier, Logic has a different approach to certain workflows in comparison to Pro Tools, some of which I find that I prefer. I think because of the fact that it is from Apple, Logic Pro seems to be more integrated with the Mac OS in certain ways to give the user more of a seamless experience, and I do appreciate that. I'm anxious to get more experienced using it, and hopefully take advantage of its strengths.

Logic Pro 9
The third program I'll be using will be Reason 6.5, by Propellerhead Software. This is the one I'm most excited to work with because, although I've been a Reason user since version 2.0 (as long as I've been using Pro Tools), the current version is the first that includes audio recording and editing, which now officially makes Reason a DAW in its own right. For those that don't know, previous versions of Reason included samplers, drum machines, synthesizers, effects, and a MIDI sequencer to build your own musical masterpieces. However, you could not record your own vocal or "live" instrument tracks into it. You would have to export the sounds from Reason into another program, where you'd mix those together with your "live" tracks - that is, until now. Reason 6 now has audio recording and editing, a full-featured virtual mixing console with EQ, dynamics, and other new effects to play with, so you could potentially buy Reason and an audio interface, and you'd have everything you need to put together some awesome tracks. But I'm reserving final judgement once the track is completed...


Some may feel that it's counter-productive to try to record music with software that you're not very familiar with. There's also a group of folks that like to learn one thing, and stick with it to the death! A friend of mine probably falls into that category. If I offer, or even mention, a new piece of software to him, he is NOT interested, haha. I believe his way of thinking is along the lines of the old adage, "if it ain't broke, don't fix it", which certainly does work for him - he produces some excellent tracks with the same software and equipment he's been on for years. I do admit there can be a learning curve with a new piece of software or other gear, which can slow down your productivity while trying to figure every thing out. I suppose the "newness" and the discovery period excites me as much as the end result of the project I'm working towards. I guess I get bored easily, at times. In other words, the tools interest me as much as what they can produce. If I see that some new software has a killer feature that expands my possibilities or could enhance my workflow... If I have the means to do so, I've GOT to check it out! However, I DO want to get some actual tracks done at SOME point, so that is why I've restricted myself to only 3 programs, haha.

So, that's my current recording project: To use a different DAW on each song, and discover what I like and don't like about working with each one. I'll also compare which song I feel came out the best, in comparison to which program was used. Naturally, I'll be sharing my results and thoughts in future posts. I've started recording some basic tracks a couple weeks ago, so yes, the project is definitely under way. Till next time...

Tuesday, May 29, 2012

Streaming Music With My Old Airport Express

A "bonus" post of sorts for this month... Painfully obvious from my recent posts, I’ve been doing a lot of work on my guitars lately. I'm having a blast, but it’s time consuming work. I find that playing some music helps keep things moving along.

Until recently I had been using my iPod for that purpose, because I’m working at my studio workstation desk where my laptop resides. Running iTunes software, computers (along with my iPod) have been my main source of music for years now, effectively replacing all my CD players. The laptop is usually connected to my studio speakers via a special "Y" cable, with an 1/8" stereo mini-plug on one end that goes into the laptop's headphone jack, and the other end splits into separate Right and Left 1/4" plugs that go to the speakers. So when I’m working on my guitars, I have to move the laptop off the desk, and usually onto my bed, nearby. That audio cord I use is way too short to reach from the speakers to the bed - about 3 feet, and I haven't been able to locate longer ones of this type. I could certainly play music from my iTunes on the laptop via the laptop's built-in speakers, which I tried at first. The sound is loud and clear, but a bit wimpy - I need some BASS in the music I listen to! Using the iPod is fine, but having those dang earbuds in my ears for hours on end is rough on my ears, so that’s not ideal either.

I came up with an idea: I remembered that I still have an older Apple Airport Express Wifi base station, bought years ago when 802.11g was the fastest WiFi standard available to most consumers. I replaced it just last year by its big brother, the Airport Extreme, which has the current 802.11n standard and other features that the Express doesn't have. So until now, the Express had been just sitting, collecting dust. However, the Express is unique from the Extreme in that it has an 1/8" stereo audio out jack that you can connect to a pair of speakers, and wirelessly stream your iTunes audio out to those speakers from anywhere in your home. This feature was originally called "AirTunes" when it was available only on the Express. In recent years, Apple came up with AirPlay, which includes streaming audio from iOS devices to computers and Apple TV, and eventually they changed the name for the Express' streaming feature to unify it all together and, I suppose, to make things less confusing.

After plugging in the Airport Express to power, I went to the laptop, and launched the "Airport Utility" program to configure the Express to join my current WiFi network as an AirTunes device. During this setup, you can give your AirTunes speakers a name of your choosing for easy recognition. Then I went to the AirPlay icon button in the lower right corner of my iTunes window, where you configure which speakers you want the iTunes audio to stream to. Once configured, it worked great, no issues whatsoever. I can now have my laptop sitting anywhere in my apartment and stream iTunes into the bedroom connected this way. Yes, the distance from the speakers to the bed is only about 4 or 5 feet, but if you don't have an audio cable that length to connect your laptop and speakers, this comes right in handy. You also have the option to stream iTunes audio out to multiple speakers at once - very cool!

One thing I noticed after configuring the Airport Express to join my WiFi network is that, because the device uses the older and slower 802.11g, it slows down any other devices on the network to that standard, such as my 802.11n Airport Extreme I now use for Internet access. I noticed that web pages (especially with video) load noticeably slower at "g" speeds. The problem could be solved by buying an updated Express that runs on "n", but I wouldn't bother for this type of occasional use. I see myself only using it while I'm working on guitars, or some other situation where I'd need the laptop to be out of the way, and I wouldn't have need for much web browsing then, anyway. I can simply plug in the Express when I want to stream from iTunes, and unplug it when I don't need it, returning to full network bandwidth again with the Extreme. A nice feature, and a good way to put "retired" equipment back to work...

Selecting the AirPlay speakers, labeled "Bedroom".
Airport Express (white box), with an audio cable (orange & grey plugs) connected to my speakers. My laptop - off to the left about 4 or 5 feet away, untethered.

Monday, May 28, 2012

Project #2 - Pickup Replacement, Hamer "XT"

For this post I'll be recounting my recent pickup replacement job for my 2-humbucker guitar, made by Hamer, a manufacturer that's been around for almost 40 years. Or, at least it was around - according to Wikipedia, they were recently bought out by Fender, and Hamer's U.S. production guitars have been discontinued. Not sure what this guitar model is actually called, but the headstock says "XT Series", which was their "budget" line of guitars, built in China. I bought it 3 or 4 years ago at Sam Ash sort of on a whim, because it was so inexpensive. I believe the price tag said $249, which itself was a great price, but lucky me, I'd caught it on sale, so I ended up paying what I recall was $179! I wasn't at the store to buy a guitar that day, but since it was so reasonably priced I figured, "why not?"

Hamer "XT" Series Guitar.

These pickups gotta go...

The first thing about this guitar that caught my attention was the translucent black "burst"-type finish, over what appears to be a flame maple top. For a "budget" guitar, this thing looks GREAT. To my eyes, hanging on the wall in the store, it looked like a fairly expensive guitar. After seeing the price tag, I had to at least plug it into an amp and check out how it played.

I remember being particularly impressed by the all-around construction for a guitar at this low price range. The neck feels different than a standard Fender neck; a bit thicker, but still very comfortable in my hand. The action was smooth, and the frets were surprisingly finished quite well. The tuning machines and other hardware were pretty solid, no loose parts at all, as you may occasionally find on the cheaper guitars.

This guitar was just right for me, because I'd been looking for an affordable "Gibson-style" guitar as an alternative to my Fender guitars that I usually play. While I'd love to have a genuine Les Paul or ES-335, they are awfully pricey, more so than even most of Fender's American-made guitars, due to Gibson's fancier designs, overall. I still wrestle with that dilemma; should I or should I not slap down that much money for a Gibson? In the meantime, I'll have fun with my Hamer...

I bought the guitar knowing that the weak link in cheaper electric guitars tends to be the electronics: the switches, the potentiometers, the pickups. When I tested it out in the store, it sounded OK, if not mind-blowing. Again, because of the price, the fact that it felt great to play, and the overall construction of the guitar was very good, I didn't have a huge problem with it not sounding so great. I figured if the pickups or other electronic parts need replacing later on, I can do that myself.

Once I got it home and played it through my amp for a week or so, away from all the racket that goes on in the music stores, I confirmed that better pickups were definitely in this guitar's future. Months after that, I noticed that the bridge pickup really didn't sound very good at all, and buzzed LOUDLY, especially when I touched the metal pickup cover with my fingers. Hard to avoid, because that's exactly what my strumming/picking hand does when it rests against the guitar while playing. That told me there was something funky going on with the wiring, or possibly the pickup itself. The neck, or "rhythm" pickup played with no problems, but the overall sound to my ears was basically "so-so". Not horrible, but not great either. I felt that this guitar could sound much better if I replaced the pickups. Admittedly, the time elapsed between my decision to replace the pickups and actually getting down to doing the job was pretty long! After the bridge pickup started acting up on me, the guitar basically sat in my closet for a long while, until I made time to work on it. Once I started working on my other guitars again, this was the perfect time to get this particular job done, too.

I'd been buying guitar repair supplies and tools from StewMac recently, and they happen to also sell an affordably priced pickup line called Golden Age. They make pickups for both Fender-style and Gibson-style guitars. Since my Hamer was a budget-priced guitar to begin with, I figured I'd give these pickups a try. Most of their pickups are priced at just over half of what one would pay for the more well-known pickup brands, such as Seymour Duncan and Dimarzio. Golden Age seems to focus on reproductions of traditional, classic pickup designs, and have a lot of positive reviews on the StewMac site. Many have opined that they sound excellent for the price, so I felt pretty confident going with them.

Golden Age pickups - "Vintage vibe" at a decent price.

As I said, the Hamer has a 2-humbucker pickup configuration, with 2 volume potentiometers ("pots" for short, 1 per pickup), 1 master tone pot, and a 3-way switch. When I opened up the control panel on the back of the guitar, I found some wiring that was a bit different than what I've seen before. Instead of soldering the pickups' lead wires directly to the volume pots, they had these white plastic connectors, going to this extra wire that was then soldered to the pots. The picture below gives you a better idea of what I'm talking about, since I don't know exactly know what they're called...

Upon closer inspection, I saw that one of the wires from the plastic connectors was very loose, and the more I fiddled with it, it eventually just fell out altogether. There was some kind of small metal thing crimped to the end of the wire, which made the electrical contact with the other side of the connector. Tracing the wire path led me to the ground wire of the bridge pickup - the same one I was having trouble with. Aha! The ground wire's bad connection was the cause of the buzzing when I touched the pickup. I can only assume the factory used those things to wire the guitar to save time in swapping out those cheapo pickups in the event that one failed. So I decided to get rid of those plastic connector things, and just wire up everything the conventional way, which wasn't too much hassle, being that I was expecting to do that anyway. I could even use the same wire that was already there, so no parts or supplies were really needed to do this job, other than the new pickups, of course.

The control cavity. The white plastic connectors in the wiring are not normally used in guitar electronics...
...and here's the reason why - a bad connection.

The pickup replacement was pretty straightforward. Once I got the old pickups out of there, I installed the new pickups into the plastic cream-colored mounting rings using the height adjustment screws and springs. This is usually the tricky part, because it's all too easy to slip and lose hold of a spring as you try to compress it over the screw that mounts into the pickup, and then *BOING*, the spring goes flying and disappears into the Land of Lost Stuff...! I've struggled with non-"behaving" pickup height springs many times in the past. The folks at StewMac have a clever solution for that as well - the Humbucker Helpers. These are stainless steel clips that temporarily hold the whole assembly of the mounting ring, the pickup, 2 screws, and the springs all together until you have the screws securely mounted into the pickup, with springs attached. Then simply pull the clip away, and everything stays put as you need it to. Very cool! The page link shows pictures of them in use - I forgot to take one myself with them on.

Doing things the hard way - removing the old pickups with strings still on.

New Golden Age pickups ready to go. Mounting rings and height adjustment screws installed with the assistance of the "Humbucker Helpers".

Next was to get each assembly into their respective pickup cavities. Not too challenging, except that I went ahead with attempting this installation without removing the strings, as I didn't have a new set of strings to install at the time. It wasn't too difficult - I just had to take extra care not to scratch the guitar's finish while squeezing the pickups underneath the loose strings, and into the cavities. Happy to say that it worked out without incident.

On this guitar, there is a small channel routed into the body of the guitar where you thread the lead wires of the neck pickup (the top one) through, then into the control cavity in the back, where the wires would be soldered to the volume pots. Since the control cavity is fairly tight, I needed to undo the mounting nuts and lift the pots out of the guitar. To give the pots some stability while I'm soldering, I used a small piece of cardboard with holes poked into them, and inserted the shaft of the pots into the holes. That way, I had better access to the connections I needed to get at with my soldering iron. I also used a small cloth to prevent the pots from scratching the back of the guitar body while I'm working.

Removing the volume pots.

Threading the pickup leads thru the channel, to the control cavity.
Soldering the leads to the volume pots, with cardboard as support.

With everything soldered, I installed each pot back where they belonged, and used some masking tape to gather up the longer lengths of wire and make it somewhat neater inside the cavity. The tape replaced the plastic ties they had on the wires before I started. Fortunately I didn't have to make any solder connections to the pickup selector switch, so at that point the job was done, save for screwing the cover back onto the control cavity. Upon first testing, I did have a weird situation where the sound of one of the pickups was cutting out intermittently. After opening everything up again, I inspected the solder joints I just made, which looked fine to me; I didn't see a need to re-do them. I then shrugged, re-installed the pots in the cavity, closed it up, plugged in again, and this time there were no problems with the pickups. Perhaps a wire was shorting out against something inside? I'm still not sure what happened there, but all works fine now; I haven't had any problems with the sound cutting out after re-sitting everything into place.

Pots back in the guitar, with wires taped up neatly.

Everything re-assembled. Success!

I definitely hear a much improved sound on this guitar with the new pickups. They have a smooth, clean sound. I can also coax out warmer, jazzy/bluesy tones as well, especially if I roll down the tone knob a bit. All my testing is done through a small Fender solid-state "Bronco" practice amp, on mostly clean settings - the "distorted" sounds for this little amp are fairly useless (meaning bad). I still need to check it out playing through my somewhat larger Fender "Blues Jr." amp, trying some dirtier, more "authentic" tube tones. That said, I'm happy with how it sounds now, finally.

All the problems with buzzing and noise are gone. This is one quiet guitar - hands down the quietest one I own now, even with all the sheilding work I've done on my Fenders. After all the "wrestling" I've done over the years with the buzzing and humming of my single-coil guitars, this is like a breath of fresh air! I'm looking forward to recording with this guitar in the future.

As I mentioned in the last post, since I'm quite satisfied with these Golden Age pickups, I plan on also getting a single-coil set to install in my Fender Strat. When that happens, I'll definitely write up a post about installing those pickups as well.  Until next time...

Saturday, May 12, 2012

Project #1 - Reviving My Fender Stratocaster

I'm back once again... Looking at the blog, it's been quite a while since I've posted. My last post was in January, and here we are, already in May! Weird, how time flies... I should have more stuff to post in the coming weeks or months. I'm on a sort of hiatus from recording at the moment, so I decided to work on my guitar projects in the meantime. I currently have 3 electric guitars and 2 bass guitars, and they all need work of some sort or another. Generally speaking, the older the instrument is, the more work is needed to be done on them.

I didn't plan to start working on them now, but after doing the work on my brother's bass guitar recently (basically re-wiring the whole thing), I suppose I got the bug to work on my own instruments again. The wiring job on my brother's bass was pretty challenging for my current level of expertise. However, I did gain some good practical knowledge and experience from the job, and will now have a much better idea of what I'm doing when I work on my own guitars. Unfortunately, I didn't think to take pictures of the bass job...

1994 Fender Stratocaster
The first guitar I decided to work on was the one that's been neglected the longest, my black Fender Stratocaster. This is a "made-in-Mexico" model (which Fender calls the "Standard" Stratocaster) that I bought back in 1994; the first brand-new guitar I ever purchased. In fact, it was the only electric guitar that I owned for many years. Once I got my "American Standard" Fender Telecaster in 2007, the Strat was more or less put on retirement status. But I've been missing my old Strat lately, so I felt it was time to start getting it back into playing shape again. Looking at it now, I see all the years of playing and general knocking around through the various nicks, dents and scratches. The frets are especially worn; practically ground down to nubs, with deep vertical grooves in them from the friction against the strings; they're supposed to be smooth from end to end. I definitely played the heck out of this guitar! Eventually I plan to take it to a professional to get new frets installed. In its current shape, it's never going to be 100% playable. With the worn-out frets, it's too difficult to play certain chords without fret buzzing.

These frets are shot.
For now, the focus will be on what jobs I can do myself, which is install copper foil shielding tape in the pickup cavity of the guitar body to help reduce hum and noise, which I learned all about last year with the Tele. I also re-installed the original single-coil pickup in the bridge position. It was replaced with a Seymour Duncan JB humbucker many years ago. I changed out the pickup to have access to more of a "Rock" sound, while keeping the brighter, cleaner-sounding single-coils in the middle and neck positions, since I only had one electric guitar at the time. That was the only real modification done on this guitar - everything else is basically stock as I purchased it.

My pickup installation "hack" job, done years ago.
This time around, the shielding work on the Strat went way smoother than with the Tele. It's still time-consuming work, but I at least had more of a clue on how to go about it. The best part was that I didn't slice open any of my fingers with the copper foil tape like last time...

Pickup and control cavity, before copper foil tape application...

...and after.
Once the shielding was done, it was on to de-soldering the humbucker pickup and re-installing the single-coil, as well as wiring up a new volume potentiometer (tech name for the "knob"). The old one still works, but it's worn, with audible static-y sounds coming through the amp when you turn the volume knob. They have electronics contact cleaners available that would fix that, but I've never purchased any as of yet. Besides, new pots are fairly cheap. I've found they cost no more than between $5 and $8 a piece. In many cases, less than that, depending on the brand and where you purchase. Plus, I like to practice to improve my soldering technique. I first learned how to solder way back in junior high school, but apparently my technique had been sorely lacking! Thanks to DVDs and YouTube videos, I've recently learned how to correctly solder guitar electronics just in the past few weeks. I'm not sure I'd call my techniques "correct" just yet, but they have definitely improved.

Pickguard turned over to show pickup & control wiring
To insure I wouldn't screw something up, I downloaded a wiring diagram from Seymour Duncan's website. Their free wiring diagram page has PDF files of just about every conceivable pickup configuration - a great resource! There are other free sources of wiring diagrams online, but I find Seymour Duncan's the easiest to read and understand. With my diagram and my trusty tools in hand, this procedure also went pretty smoothly. Oh, and because the pickguard has a large hole cut out to allow the larger humbucker pickup to fit, installing the original pickups and controls into a new pickguard was also part of this job.  When I was installing the humbucker way back then, I wonder why I didn't just buy a new pickguard, instead of "hacking" a larger hole into the original? Youthful impatience? Didn't want to spend the extra money? Who knows? That was nearly 20 years ago...!

Electronics transferred to the new pickguard (note aluminum shielding foil).
The end result, back to its original look (and sound).

Once the job was finished, I installed new strings on the guitar, and everything worked fine. My only gripe is that I'm not getting the amount of reduction in hum and noise that I thought I would with the shielding tape job done; pretty much the same result as when I did the same job on the Tele. Is there something I'm missing? I recently read some articles online about other ways to shield your guitar from electrical interference, including wiring shielded single conductor wire on the output jack, which I did on my brother's bass, and it seemed to help reduce noise quite a bit (in addition to shielding the pickup cavity on his bass as well). So perhaps that's the "missing link". I didn't re-wire the output jack on the Strat, but I plan to as soon as I buy more of that type of wire, and see if that helps reduce more of the hum.

Another shielding technique I read about is to wrap a length of copper foil tape around the actual pickup coils, then solder a ground wire from the tape to the bottom bobbin of the pickup (where the main pickup coil wire is attached). I'm not sure I want to get into that level of soldering, because I read that it's delicate work where you can easily ruin the pickup if you mess up. What I'm thinking of doing instead is buying a new set of Golden Age Strat pickups I've been reading about, from StewMac. They are modestly priced compared to other brands, and they come pre-installed with the shielding I just mentioned. I recently bought a pair of Golden Age humbucker pickups for another guitar of mine, and plan to install those very soon. That will be the subject of my next post. If those pickups are to my liking, I'll most likely go ahead and buy the Strat pickups too. More stuff coming soon...

FYI, it is not at all my intention for this post to be one big ad for StewMac. I certainly don't work for them (haha), but I personally believe them to be a good source for useful (and free) information, as well as buying parts and supplies you need. I figure if you can find everything you need in one place, why not take advantage? But that certainly doesn't mean you can't shop around, which I do as well. Just thought I'd put that out there.

Some helpful articles on guitar electronics:

http://www.stewmac.com/tradesecrets/promo/ts0052_shielding

http://www.guitarnuts.com/wiring/menu.php (Good info on this site, but it seems to be an older-type site, loaded with annoying pop-up windows when you click page links. You have been warned...)

Sunday, January 22, 2012

Finally.

Happy 2012 to everyone... It sure has been a while since I've posted last, but I certainly have something of interest to share today...

After many months of ups & downs, technical issues, setbacks, do-overs and everything else you can think of, I finally have some music to share with you. I have joined Soundcloud to post my music online. There are currently 3 tracks posted, and more in the works. For those who have been waiting - thanks for your patience. Hope you enjoy...

Demos - 2012 by harvard_exp